LCD Soundsystem "Sound of Silver"
By Dean Stattmann
Album: Sound of Silver
Artist: LCD Soundsystem
Label: DFA Records / EMI
When I first heard about LCD Soundsystem’s latest release, I immediately decided that I would not like it; not because I didn’t like the previous album, but rather because it was so good that the idea of replacing it with something better was offensive. In 2005, LCD Soundsystem, led by DFA Records co-founder James Murphy, annihilated the dance and pop charts when they launched their self-titled debut album, and who could blame them? The release had all the ingredients that an epic album of this genre requires: the song that everyone knows (“Tribulations”), the anthem (“Daft Punk is Playing at My House”), and the one that everyone calls a ballad, really isn’t, but still deserves the title (“Yeah”). It was bulletproof. And that’s why instead of seeing Sound of Silver as the armor-piercing, exploding round that it is, I prefer to look at it as a sentry that will forever guard the legacy that LCD Soundsystem has now created.
From the first track (“Get Innocuous!”), it is made very clear that Murphy is not playing games. What starts off as textbook progressive electro soon evolves into a full-fledged auditory invasion, with the unique combination of instruments that has become synonymous with the group. This surprise attack sets a clear message that echoes throughout Sound of Silver: “We’re doing this our way.”
The first single off the new album (“North American Scum”) is possibly the most prominent landmark of the album, with Murphy’s personal voice dominating the track: “Oh I don’t know where to begin / We are North Americans / And for those of you who still think we’re from England / We’re like …no.” The track is patriotic and inspirational without sounding like some kind of defense, although it could just as easily be a response to “Two Nations," off The Streets’ latest release (The Hardest way to Make an Easy Living) in which Mike Skinner, after ranting about America’s faults, comes to the conclusion that the US is simply an unsuccessful version of Britain.
At first, the closing track (“New York I Love You But You’re Bringing Me Down”) seems to be a simple critique of NYC; however, it is in this final stretch of the album that Murphy really showcases his lyrical ability. Following tracks like “Us V Them,” “Watch the Tapes,” and the title track, rather than a grand finale, “New York . . ." acts as the calm following the storm. With its insightful lyrics and calming piano riff, it is the perfect end to a perfect album. Sound of Silver contains nine tracks with the average track length spilling just over six minutes. This long track/short album approach is a refreshing change from the norm: however, every time the album ends I find myself wanting more.
Sound of Silver lights four torches without breaking a sweat.